document_title: Millennium Falcon

question_text: who did han solo get the millenium falcon from

text: Millennium Falcon

text: Origin and design[edit]

text: The ship originally had a more elongated appearance, but this design's similarity to the Eagle Transporters in Space: 1999 prompted Lucas to change the Falcon's design.[citation needed] The original model was modified, re-scaled, and used as Princess Leia's ship, Tantive IV.[2] Modelmaker Joe Johnston had about four weeks to redesign the Falcon, and Lucas's only suggestion to Johnston was to "think of a flying saucer".[3] Johnston did not want to produce a "basic flying saucer", so he created the offset cockpit, forward cargo mandibles, and rear slot for the engines.[3] The design was simple enough to create in the four-week window. Johnston called production of the new Falcon design one of his most intense projects.[3]

text: The sound of the ship traveling through hyperspace comes from two tracks of the engine noise of a McDonnell Douglas DC-9, with one track slightly out of synchronization with the other to introduce a phasing effect.[4] To this, sound designer Ben Burtt added the hum of the cooling fans on the motion-control rig at Industrial Light & Magic (ILM).[4]

text: Models and sets[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009) (Learn how and when to remove this template message)

text: Visually, the Millennium Falcon was represented by several models and external and internal sets. For Star Wars, a partial exterior set was constructed and the set dressed as Docking Bay 94 and the Death Star hangar. Besides the functional landing gear, an additional support held up the structure and was disguised as a fuel line. The interior set included the starboard ring corridor, the boarding ramp, cockpit access tunnel, gun turret ladder, secret compartments, and the forward hold. The cockpit was constructed as a separate set that could be rocked when the ship was supposed to shake. Several inconsistencies exist between the internal set and the external set, the cockpit access tunnel angle being the most noticeable.

text: The effects models for Star Wars matched the design of the exterior set. The primary model was 5 feet long and detailed with various kit parts. The ship was represented by a matte painting when Princess Leia (Carrie Fisher) sees it for the first time, showing the full upper surface. For the 1997 "Special Edition", a digital model replaces the effects model in several shots, and is used in a new shot of the Falcon lifting off from Docking Bay 94.

text: For The Empire Strikes Back, a new external set was constructed. In spring 1979, Marcon Fabrications, a heavy engineering firm that served the UK's petrochemical and oil industries,[5] was hired to build a movable full-scale external model capable of "moving as if it were about to take off."[5] Built in secrecy under the project code name Magic Roundabout,[5][6] the company leased the 1930s Western Sunderland Flying Boat hangar in Pembroke Dock, West Wales.[6][7] The model, which took three months to construct, weighed over 25 long tons (25 t), measured 65 feet (20 m) in diameter and 20 feet (6.1 m) high, and used compressed air hover pads for up to 1.5 inches (38 mm) of hover-height movement around the set.[6][8][9] It was then disassembled and shipped to Elstree Studios, Hertfordshire, for filming.[5] Today, the Pembroke Dock museum has an exhibit about the project.[5][6]

text: Along with the full-size mock-up of the Falcon, a new miniature model was created for Star Wars, Episode V: The Empire Strikes Back to allow ILM to film more intricate in-flight rolls and pitches that weren't possible with the five-foot model. This model was able to be mounted on a gimbal that allowed ILM to simulate very difficult maneuvers as the ship attempted to outrun Imperial Tie-Fighters during the asteroid-field-escape scene from the film. The new model, which measured at approximately 32 inches in length, had several surface features that differed from the five-foot model including updated landing gear and different surface greeblies. The 32" model was the version of the Millennium Falcon most depicted in toys, model kits, and promotional materials for the Star Wars universe prior to the release of The Force Awakens. The model was reused for Star Wars, Episode VI: Return of the Jedi.

text: As in Star Wars, the location set was changed around the ship set. The only major design change was to add landing gear where the disguised fuel line had been in Star Wars. As this set included the port side, that gave the set seven landing gears. The internal set was slightly refitted from A New Hope and featured a sliding cockpit door, a larger cargo hold, an additional corridor to port, and an equipment room. Two new interior sets were created that are not shown to connect to the rest of the set: a top hatch that Lando Calrissian (Billy Dee Williams) uses to rescue Luke Skywalker (Mark Hamill), and the compartment where Luke rests on a bunk.

text: The 5-foot-long (1.5 m) effects model from Star Wars was modified to reflect the additional landing gear, and several new models were built, including one roughly the size of a U.S. Quarter Dollar. For the 1997 Special Edition, a CGI model replaced the effects model during the approach and landing on Cloud City.

text: No new models or sets were created for Return of the Jedi. A portion of the full-scale ship was used for a scene cut from the film in which several characters board the Falcon in a sandstorm on Tatooine. In the scene when Han exacts a promise from Lando not to damage the Falcon, the Falcon is represented by a backdrop painting. It is also in a matte painting of the entire hangar bay.

text: The internal and external sets were scrapped after filming on Return of the Jedi ended.[8] The effects models were kept by Lucasfilm and some have been on display from time to time.

text: A digital version of the Falcon appears briefly on Coruscant in Revenge of the Sith. Lucas has said that the ship is the Falcon and not another ship of similar design.[10] A CGI version of the vessel also appears in the Disney attraction Star Tours: The Adventures Continue.

text: On June 3, 2014, TMZ confirmed that the Falcon would return for Star Wars: The Force Awakens when it leaked a photo from the set of the film, showing a full-scale version of the Falcon being built.[11] An effects shot of the Falcon appears in the teaser trailer for The Force Awakens, released on November 28, 2014. This version of the ship is a digital recreation[12] of the original 1977 5 foot model, with additional detailing reflecting the passage of time. The most noticeable change is the rectangular sensor array above the top hull, which replaces the circular dish from the first three films.[13]

text: Depiction[edit]

text: Han Solo won the Millennium Falcon from Lando Calrissian in the card game 'sabacc' several years before the events of the film A New Hope.[14] In Star Wars, Obi-Wan Kenobi (Alec Guinness) and Luke Skywalker (Mark Hamill) charter the ship in the Mos Eisley Cantina to deliver them, C-3PO (Anthony Daniels), R2-D2 (Kenny Baker), and the stolen Death Star plans to Alderaan. When the Falcon is captured by the Death Star, the group conceal themselves in smuggling compartments built into the floor to avoid detection during a search of the ship. Solo later collects his fee for delivering them to the hidden Rebel base and departs under bitter circumstances, but returns to assist Luke in destroying the Death Star.

text: Solo pilots the Falcon, with Chewbacca, Leia, and C-3PO aboard, to elude the Imperial Starfleet in The Empire Strikes Back, wherein they take refuge at Cloud City, where Darth Vader (David Prowse/James Earl Jones) captures Solo. Lando Calrissian helps the others escape and, at the film's end, he departs in the Falcon to track down Solo and his captor, Jabba the Hutt. Calrissian again flies the Falcon during the climax of Return of the Jedi, with Nien Nunb as co-pilot, to destroy the second Death Star. Before the second Death Star is destroyed, Lando accidentally damages the ship by hitting the circular radar dish on a random pipe or circuit in the second Death Star. Lando and the others still have success in destroying the Galactic Empire.

text: In Star Wars: The Force Awakens, set some 30 years after Return of the Jedi, the Falcon is in the possession of a scrap dealer named Unkar Plutt on the desert planet Jakku, having been stolen from Solo and Chewbacca some years prior. Scavenger Rey (Daisy Ridley) and former stormtrooper Finn (John Boyega) steal the Falcon in order to escape from an attack by the First Order, having been targeted for having the droid BB-8 in their possession. They are captured by a smuggling freighter, which turns out to be piloted by Solo and Chewbacca, who reclaim the Falcon for their own. Forced to escape in the Falcon from an ambush by parties to whom Solo is heavily in debt, Solo reluctantly agrees to help Rey and Finn return BB-8 to the Resistance.

text: The Falcon appears again in Star Wars: The Last Jedi, still on Ahch-To with Rey and Chewbacca. Later in the film, Chewbacca and Rey take the Falcon to the planet Crait, where the Resistance is under attack by the First Order. The Falcon loses its sensor dish for the second time on Crait, after it is shot off by a TIE fighter. After the battle, surviving Resistance personnel leave Crait aboard the Falcon.

text: Kessel Run[edit]

text: In the initial film, Solo brags that the Falcon made the Kessel Run in "less than twelve parsecs". As the parsec is a unit of distance, not time, different explanations have been provided. In the fourth draft of the script, Kenobi "reacts to Solo’s stupid attempt to impress them with obvious misinformation".[15] In the Expanded Universe, the Kessel Run is a pathway from Kessel past the Maw Black Hole Cluster: used by smugglers to transport precious Glitterstim spice; and Solo's bragging refers to his ability to move the ship closer to the Maw's black holes and therefore shorten the distance traveled.[16] On the Star Wars DVD audio commentary, Lucas comments that, in the Star Wars universe, traveling through hyperspace requires careful navigation to avoid stars, planets, asteroids, and other obstacles,[17] and that because no long-distance journey can be made in a straight line, the "fastest" ship is the one that can plot the "most direct course", thereby traveling the least distance.[17]

text: In the pre-release novelization the line is: "less than twelve standard timeparts".

text: In the film Solo: A Star Wars Story, Solo's Kessel Run is described in detail, providing yet another explanation for the "twelve parsec" boast.

text: Ownership[edit]

text: The Falcon has been depicted a number of times in the franchise, and the ship's ownership often comes up during explanations of its history.

text:
Prior to Star Wars, the Falcon was in the possession of Lando Calrissian. He lost it to Han Solo in payment of a gambling debt. This time period is also referenced in Solo: A Star Wars Story.
Following the events of The Empire Strikes Back, Leia, Chewbacca and Lando take possession of the Falcon after Solo's hybernation in carbonite and capture by the Empire and Boba Fett.
During Return of the Jedi, Solo leaves Tatooine aboard the Millennium Falcon, and on arrival at the rendezvous for the Rebel fleet he loans the Falcon to Lando, who uses it to assist in the Battle of Endor and the destruction of the second Death Star.
Following the events of Return of the Jedi, the Falcon is stolen from Solo, ending up on the planet Jakku under the ownership of a scrap dealer, Unkar Plutt, 30 years after the Battle of Endor. In The Force Awakens, Rey and Finn commandeer the ship to escape the planet, only to be found by Solo and Chewbacca, who immediately reclaim the ship.
Following the death of Solo, Rey pilots the Falcon, with Chewbacca as her co-pilot. The novelization of The Force Awakens writes that Chewbacca willingly abdicates captaincy of the Falcon to Rey.
Following the events of The Last Jedi the ship becomes the Rebel base for the 300 members left of the rebellion.

text: Cultural influence[edit]

text: Joss Whedon credits the Millennium Falcon as one of his two primary inspirations for his Firefly television show.[18] The Falcon and the Falcon's distinct shape appear in Star Trek: First Contact,[19] Blade Runner,[20] Spaceballs, and Starship Troopers.[21] The manga series Berserk includes a Millennium Falcon arc.[22] In another manga and anime series, Hellsing, the Millennium Falcon is referenced briefly for comedic effect. The adult animation sketch-comedy series Robot Chicken aired a sketch entitled "The Emperor's Phone Call," in which Palpatine receives the news of the destruction of the Death Star with incredulity, at one point angrily asking "What the hell is an aluminum falcon?"[23]

text: In 2010, Adidas also released a pair of Stan Smith trainers inspired by the Millennium Falcon, as part of the Adidas Originals Star Wars campaign.[24]

text: SpaceX states that its Falcon family of rockets is named after the Millennium Falcon.[25]

text: In 2015, scale model manufacturer DeAgostini and Model-Space introduced a monthly installment piece-build model of the Millennium Falcon. The model is a 1:1 replica of the 32" inch The Empire Strikes Back filming miniature.

text: Toys[edit]

text: Kenner,[26] Hasbro,[27][28] Steel Tec,[29] Master Replicas,[30] Code 3 Collectibles and Micro Machines have all released Millennium Falcon toys and puzzles, including a Transformers version of the ship.

text: Hot Wheels has made a model of the ship for their Star Wars starship line[31] and a version of it as a car.[32] It is also available as a Hot Wheels playset. [33]

text: Lego has released multiple versions of the Millennium Falcon in varying sizes. The 5,195-piece Lego model (part of the Star Wars "Ultimate Collectors Series") was physically the largest Lego set sold by the company, until it was topped in 2008 by the Lego Taj Mahal.[34][35] In September 2017, Lego released an updated Millennium Falcon set in the Star Wars "Ultimate Collectors Series". With the new interior and more details compared to the 2007 model, the 7,541-piece model is the largest commercially available Lego set (by a considerable margin), and is also the most expensive set at $800.[36] Lego has also made a version of the Falcon to tie in with the newest Star Wars movie, Solo. It is called the Kessel Run Millennium Falcon. [37]


document_title: American juvenile justice system

question_text: the juvenile court system in the u.s. has been in existence since

root

text: American juvenile justice system

text: History and background[edit]

text: Juvenile delinquency punishments trace back to the Middle Ages when crimes were severely punished by the Church. Throughout the 17th and 18th centuries, few legal differences existed between children and adults.[1][2] Children as young as six and seven years were considered productive members of the family and their labor contributed to family income. In court, children as young as seven were treated as adults and could receive the death penalty.[1] Early debates questioned whether there should be a separate legal system for punishing juveniles, or if juveniles should be sentenced in the same manner as adults[3]

tag: p

text: With the changing demographic, social, and economic context of the 19th century resulting largely from industrialization, “the social construction of childhood...as a period of dependency and exclusion from the adult world” was institutionalized.[4] This century saw the opening of the first programs targeting juvenile delinquency. Barry Krisberg and James F. Austin note that the first ever institution dedicated to juvenile delinquency was the New York House of Refuge in 1825.[5] Other programs, described by Finley, included: “houses of refuge”, which emphasized moral rehabilitation; “reform schools”, which had widespread reputations for mistreatment of the children living there; and “child saving organizations”, social charity agencies dedicated to reforming poor and delinquent children.[3] These ‘child-saving efforts’ were early attempts at differentiating between delinquents and abandoned youth.

text: Prior to this ideological shift, the application of parens patrea was restricted to protecting the interests of children, deciding guardianship and commitment of the mentally ill. In the 1839 landmark case Ex parte Crouse, the court allowed use of parens patrea to detain young people for non-criminal acts in the name of rehabilitation.[6][7] Since these decisions were carried out “in the best interest of the child,” the due process protections afforded adult criminals were not extended to juveniles.

text: Early 1900s[edit]

text: The nation's first juvenile court was formed in Illinois in 1899 and provided a legal distinction between juvenile abandonment and crime.[8] The law that established the court, the Illinois Juvenile Court Law of 1899, was created largely because of the advocacy of women such as Jane Addams, Louise DeKoven Bowen, Lucy Flower and Julia Lathrop, who were members of the influential Chicago Woman's Club.[9][10] The Chicago court opened on July 1, 1899 with Judge Tuthill presiding, along with several members of the Chicago Woman's Club who acted as advisors about the juvenile offender's backgrounds.[11] Establishing a juvenile court helped reframe cultural and legal interpretations of “the best interests of the child.” “The underlying assumption of the original juvenile system, and one that continues to prevail, was that juveniles were generally more amenable to rehabilitation than adult criminals.[12] This new application of parens patrea and the development of a separate juvenile court formed the foundation for the modern juvenile justice system.

text: 1960s to 1980s[edit]

text: Debate about morality and effectiveness surrounded juvenile courts until the 1950s. The 1960s through the 1980s saw a rise in attention to and speculation about juvenile delinquency, as well as concern about the court system as a social issue. This era was characterized by distinctly harsh punishments for youths.[3] There was also a new focus on providing minors with due process and legal counsel in court. Criticism in this era focused on racial discrimination, gender disparities, and discrimination towards children with mental health problems or learning disabilities.[3] While still recommending harsher punishments for serious crimes,[13] “community-based programs, diversion, and deinstitutionalization became the banners of juvenile justice policy in the 1970’s”.[14] However, these alternative approaches were short lived. The rising crime rates of the 1960s and media misrepresentation of this crime throughout the 1970s and 80s, paved the way for Reagan’s War on Drugs and subsequent “tough-on-crime” policies.[14][15] Heightened fears of a ‘youth problem’ “revealed white, middle- and upper-class anxieties about growing social unrest and the potential volatility stemming from social and economic inequality”.[16] Public perception of juvenile deviance was such that at the 1999 Juvenile Justice Hearings, Bill McCollum claimed “simply and sadly put: Today in America no population poses a larger threat to public safety than juvenile offenders”.[17] In the late 1980s, the United States experienced a large increase in crime, and juvenile crime was brought into public view (Juvenile delinquency in the United States). Americans feared a "juvenile super-predator", and this fear was met by the government with harsher policies for juvenile crime.[18]

text: 1990s to present day[edit]

text: In the 1990s, juvenile crime – especially violent crime – decreased, although policies remained the same.[3] Schools and politicians adopted zero tolerance policies with regard to crime, and argued that rehabilitative approaches were less effective than strict punishment.[3] The increased ease in trying juveniles as adults became a defining feature of “tough-on-crime” policies in the 1990s. As Loyola law professor Sacha Coupet argues, “[o]ne way in which "get tough" advocates have supported a merger between the adult criminal and juvenile systems is by expanding the scope of transfer provisions or waivers that bring children under the jurisdiction of the adult criminal system”.[19] Some states moved specific classes of crimes from the juvenile court to adult criminal court while others gave this power to judges or prosecutors on a case-by-case basis. Still others require the courts to treat offending youth like adults, but within the juvenile system. In some states, adjudicated offenders face mandatory sentences.[14] By 1997, all but three states had passed a combination of laws that eased use of transfer provisions, provided courts with expanded sentencing options and removed the confidentiality tradition of the juvenile court.[14] Juvenile courts were transformed to more easily allow for prosecution of juveniles as adults at the same time the adult system was re-defining which acts constituted a “serious crime.” The “three strikes laws” that began in 1993 fundamentally altered the criminal offenses that resulted in detention, imprisonment and even a life sentence, for both youth and adults.[3] “Three strikes laws” were not specific to juvenile offenders, but they were enacted during a period when the lines between juvenile and adult court were becoming increasingly blurred. The War on Drugs and “tough-on-crime” policies like Three Strikes resulted in an explosion in the number of incarcerated individuals.[20]

text: Implementation of the Gun Free School Act (GFSA) in 1994 is one example of a "tough on crime" policy that has contributed to increased numbers of young people being arrested and detained.[21] It was intended to prosecute young offenders for serious crimes like gun possession on school property, but many states interpreted this law to include less dangerous weapons and drug possession.[21] Many schools even interpreted GFSA to include “infractions that pose no safety concern, such as ‘disobeying [school] rules, ‘insubordination,’ and ‘disruption”.[22] These offenses can now warrant suspension, expulsion and involvement with juvenile justice courts.[5] Schools have become the primary stage for juvenile arrest and the charges brought against them and punishments they face are increasing in severity. Today this is frequently referred to as the School to prison pipeline.

text: Demographics[edit]

text: Demographic information for youth involved in the Juvenile Justice system is somewhat difficult to collect, as most data is collected at state, county, and city levels. Although the office of Juvenile Justice and Delinquency Prevention publishes national numbers that breakdown the racial make-up of youth involved in the juvenile justice system, this data provides an incomplete picture, as it excludes Hispanic youth in its demographic calculations.

text: According to the Office of Juvenile Justice and Delinquency Prevention, in 2011 there were a total of 1,236,200 cases handled by the juvenile courts. 891,100 cases dealt with males, compared with 345,100 for females. The most prominent age group represented in the courts is 13 to 15 years, which make up 552,000 of the total cases. 410,900 of the cases involved Black adolescents, which represents about one-third of the total court cases.[23]

text: The number of cases handled by the juvenile courts in the United States was 1,159,000 in 1985, and increased steadily until 1998, reaching a high point of 1,872,700. After this point, the number of cases steadily declined until 2011.[23]

text: In the 1,236,200 cases settled in 2011, 60% of the juveniles had a previous background of criminal history in their families and 96% of the juveniles had substance abuse problems, often related to parental/guardian substance abuse. In 1999, juveniles accounted for 16% of all violent crime arrests, and 32% of all property crime. They also accounted for 54% of all arson arrests, 42% of vandalism arrests, 31% of larceny-theft arrests, and 33% of burglary arrests.[24]

text: Racial discrepancies

text: Since 1995, the rate of confinement has dropped by 41%, and the rate has decreased among all major racial groups in the US. However, disparities by race remain apparent: in 2010, 225 youths per 100,000 were in confinement. When separated by race, there were 605 African-Americans, 127 Non-Hispanic Whites, 229 Hispanics, 367 Native Americans, and 47 Asian/Pacific Islanders in confinement per 100,000. African-Americans are close to five times more likely to be confined than white youths, while Latino and Native Americans are two to three times more likely to be confined than white youths.[25] Racial disparities in confinement are relatively constant across states.

text: According to the Office of Juvenile Justice and Delinquency Prevention, females constitute 14% of juveniles in residential placement in 2011. Of these females, 61% belong to racial minority groups.[26]

text: The Annie E. Casey Foundation provides additional information about the demographics of the juvenile justice system.

text: Juveniles in residential placement[edit]

text: Residential placement refers to any facility in which an adolescent remains on-site 24 hours a day. These facilities include detention centers, group homes, shelters, correctional facilities, or reform schools.[27] According to census data of Juveniles in residential placement and the Annie E. Casey Foundation, the number of youths in juvenile detention centers in the United States has declined in the past two decades.[25] The number of adolescents incarcerated peaked in 1995, with 107,637 in confinement in a single day. In contrast, there were fewer than 62,000 adolescents in residential placement in October 2011.[26] Juvenile offenders are placed either in public facilities operated by the State or local government, or private, for-profit facilities operated by separate corporations and organizations. Private facilities are smaller than public facilities. Half of all juvenile placement facilities in the US are privately operated, and these facilities hold nearly one-third of juvenile offenders.[26]

text: Since 1997, 44 states and the District of Columbia have experienced a decrease in incarceration of adolescents. As of 2010, only 1 in 4 juveniles in confinement were incarcerated as a result of a violent crime (homicide, robbery, sexual assault, aggravated assault). Additionally, 40% of juvenile delinquency cases and detentions are a result of offenses that are not considered threats to public safety. These include underage possession of alcohol, truancy, drug possession, low-level property offenses, and probation violations.[25] The most common age of offenders was 17 years old, with 17,500 in placement in 2011. Juveniles aged 12 and under accounted for 1% of all youth in placement.[26]

text: Criticisms[edit]

text: The current debate on juvenile justice reform in the United States focuses on the root of racial and economic discrepancies in the incarcerated youth population. The school to prison pipeline has been described as one mechanism that targets young people in schools and funnels them into the juvenile justice system. Zero tolerance policies in schools have increased the numbers of young people facing detention. Low-income youth, youth of color and youth with learning and cognitive disabilities are over-represented in the justice system and disproportionately targeted by zero tolerance policies.[28]

text: Much of the criticism about the American juvenile justice system revolves around its effectiveness in rehabilitating juvenile delinquents.[3] Research on juvenile incarceration and prosecution indicates that criminal activity is influenced by positive and negative life transitions regarding the completion of education, entering the workforce, and marrying and beginning families.[29] According to certain developmental theories, adolescents who are involved in the court system are more likely to experience disruption in their life transitions, leading them to engage in delinquent behavior as adults.[29]

text: Lois M. Davis et al. argue that adolescents are affected by a juvenile system that does not have effective public policies. Currently the juvenile system has failed to ensure that all youth in the system with learning disabilities or mental health issues, and from lower-class individuals and racial minorities are provided with the benefits for a productive life once out of the system. In 2013 30% of youth in system have a learning disability and nearly 50% test below grade level.[30] They argue that the juvenile justice system should be restructured to more effectively lower the chances of future crime among youth, and advocate for increased educational programs for incarcerated youth as the most important method to reduce recidivism.[31]

text: A 2015 report from The Council of State Governments Justice Center showed only 13 states provide incarcerated youth with the same educational services as the general student population in the United States. The report recommended juvenile detention facilities should be held to the same academic standards as other public schools.[32]

text: Proposed reforms[edit]

text: Many scholars stress the importance of reforming the juvenile justice system to increase its effectiveness and avoid discrimination. Finley argues for early intervention in juvenile delinquency, and advocates for the development of programs that are more centered on rehabilitation rather than punishment.[3] James C. Howell et al. argue that zero tolerance policies overwhelm the juvenile justice system with low risk offenders and should be eliminated. They also argue that the most effective ways to reform the juvenile justice system would be to reduce the overrepresentation of minorites and eliminate the transfer of juveniles to the criminal justice system.[33] Zimring and Tannenhaus also discuss the future of the juvenile justice system in the United States. They argue that educational reentry programs should be developed and given high importance alongside policies of dropout prevention. Reentry programs focus on providing care and support to juveniles after being released from detention facilities, and encouraging family support to help adolescents during this adjustment period.[34] They also argue for the elimination of juvenile sex offender registration requirements, and the reform of criminal record information for juvenile offenders.[5]

text: Some popular suggested reforms to juvenile detention programs include changing policies regarding incarceration and funding. One recommendation from the Annie E. Casey Foundation is restricting the offenses that are punishable by incarceration, so that only youth who present a threat to public safety are confined. Other suggestions include investing in alternatives to incarceration, changing economic incentives that favor incarceration, and establishing smaller, more humane and treatment-oriented detention centers for the small number who are confined.[25]

text: Positive Youth Development and the juvenile justice system

text: Positive Youth Development (PYD) encompasses the intentional efforts of other youth, adults, communities, government agencies and schools to provide opportunities for youth to enhance their interests, skills, and abilities.

text: The justice system offers specific services to youth facing significant mental health and substance use challenges, but the majority of youth do not qualify for these targeted programs and interventions. Butts, et al. suggest that the integration of positive youth development into the juvenile justice system would benefit youth charged with nonviolent, less serious offenses.[35]

text: Widespread implementation of PYD approaches in the juvenile justice system faces many challenges. Philosophically however, the PYD framework resembles the progressive era ideals that informed the creation of the first juvenile court. As Butts, Mayer and Ruther describe, "The concepts underlying PYD resemble those that led to the founding of the american juvenile justice system more than a century ago. [...] Organizers of the first juvenile courts saw the solution to delinquency in better schools, community organizations, public health measures, and family supports. They believed an improved social environmental would encourage youth to embrace pro-social norms." [36]

text: Integration of PYD into the juvenile justice system is informed by social learning theory and social control theory. Taken together, these theories suggest that “youth are less attracted to criminal behavior when they are involved with others, learning useful skills, being rewarded for using those skills, enjoying strong relationships and forming attachments, and earning the respect of their communities”.[37] This is in stark contrast to the theories of deterrence and retributive justice espoused by the current justice system.

text: Youth court

text: Youth courts are programs in which youth sentence their peers for minor delinquent and status offenses and other problem behaviors. The program philosophy is to hold youth responsible for problem behavior, educate youth about the legal and judicial systems, and empower youth to be active in solving problems in their community. Youth courts function to determine fair and restorative sentences or dispositions for the youth respondent. Youth court programs can be administered by juvenile courts, juvenile probation departments, law enforcement, private nonprofit organizations, and schools. Youth court programs operate under four primary models: Adult Judge, Youth Judge, Peer Jury, and Youth Tribunal Models. Under the adult judge model, an adult volunteer serves as the judge while youth volunteers serve as prosecuting and defense attorneys, jurors, clerks, and bailiffs. Under the youth judge model, youth volunteers fill all roles, including judge. Under a peer jury model, youth jurors question the respondents and make sentencing determinations. Under a youth tribunal model, youth serve as prosecuting and defense attorneys, and present their cases to a panel of youth judges, who then make a sentencing determination. To date, there are no comprehensive national guidelines for youth courts, but rather, courts operate under and are tailored to their local jurisdictions. To date, there are more than 675 youth courts in the United States.[38]

text: East Palo Alto and Boston have both implemented youth courts. The East Palo Alto youth court is based on restorative justice principles. Eligible youth must admit the facts of the case, after which youth attorneys explain the facts of the case to a youth jury.[39] In Boston, youth court is available to first time, low level offenders. It is based on a restorative justice framework.[40]

text: Restorative Justice

text: Restorative justice is an approach to justice that focuses on the needs of the victims and the offenders, and the involved community, rather than punishing the offender. Victims and offenders both take an active role in the process, with the latter being encouraged to take responsibility for their actions. Doing so is an attempt by offenders to repair the harm they've done and also provides help for the offender in order to prevent future offenses. Restorative justice is based on a theory of justice that views crime to be an offense against an individual and/or a community, versus the state. Programs that promote dialogue between victim and offender demonstrate the highest rates of victim satisfaction and offender accountability.[41]

text: Raise the age

text: Many advocates argue that the juvenile system should extend to include youth older than 18 (the age that most systems use as a cut-off). Research in neurobiology and developmental psychology show that young adults' brains do not finish developing until their mid-20s, well beyond the age of criminal responsibility in most states.[42] Other non-criminal justice systems acknowledge these differences between adults and young people with laws about drinking alcohol, smoking cigarettes, etc.

text: New York and North Carolina remain the only states to prosecute all youth as adults when they turn 16 years of age.[43] Connecticut Governor, Danell Mallor just proposed raising the age in his state to 20.[44]


document_title: Smokey and the Bandit

question_text: sheriff's name in smokey and the bandit

question_tokens: sheriff 's name in smokey and the bandit

text: Smokey and the Bandit

text: Plot[edit]

text: Wealthy Texan Big Enos Burdette (Pat McCormick) and his son Little Enos (Paul Williams) seek a truck driver willing to bootleg Coors beer to Georgia for their refreshment. At the time, Coors was regarded as one of the finest beers in the United States,[3] but it could not be legally sold east of the Mississippi River. Truck drivers who had taken the bet previously had been caught and arrested by "Smokey" (CB slang for highway patrol officers, referring to the Smokey Bear–type hats worn in some states).

text: The Burdettes find legendary trucker Bo "Bandit" Darville (Burt Reynolds) competing in a truck rodeo at Lakewood Fairgrounds in Atlanta; they offer him $80,000 to haul 400 cases of Coors beer from Texarkana, Texas back to Atlanta in 28 hours; Big Enos has sponsored a driver running in the Southern Classic stockcar race and "when he wins I want to celebrate in style." Bandit accepts the bet and recruits his partner Cledus "Snowman" Snow (Jerry Reed) to drive the truck, while Bandit drives the "blocker", a black Pontiac Trans Am bought on an advance from the Burdettes, to divert attention away from the truck and its illegal cargo.

text: The trip to Texas is mostly uneventful except for at least one pursuing Arkansas State Trooper whom Bandit evades with ease. They reach Texarkana an hour ahead of schedule, load their truck with the beer and head back toward Atlanta. Immediately upon starting the second leg of the run, Bandit picks up runaway bride Carrie (Sally Field), whom he eventually nicknames "Frog" because she is "kinda cute like a frog" and "always hoppin' around". But in so doing, Bandit makes himself a target of Texas Sheriff Buford T. Justice (Jackie Gleason), a career lawman whose handsome but slow-witted son Junior (Mike Henry) was to have been Carrie's bridegroom. Ignoring his own jurisdiction, Sheriff Justice, with Junior in tow, chases Bandit all the way to Georgia, even as various mishaps cause his cruiser to disintegrate around them.

text: The remainder of the film is one lengthy high-speed chase, as Bandit's antics attract more and more attention from local and state police across Dixie while Snowman barrels on toward Atlanta with the contraband beer. Bandit and Snowman are helped along the way via CB radio by many colorful characters, including an undertaker with his hearse driver and their funeral procession, an elderly lady, a drive-in waitress and all her customers, a convoy of trucks, and even a madam who runs a brothel out of her RV. Neither Sheriff Justice nor any other police officers have any knowledge of Snowman's illegal manifest.

text: The chase intensifies as Bandit and Snowman get closer to Atlanta; moments after crossing back into Georgia, Bandit comes to the rescue when Snowman is pulled over by a Georgia State Patrol motorcycle patrolman, and state and local police step up their pursuit with more cruisers, larger roadblocks, and even a police helicopter to track Bandit's movements. Discouraged by the unexpected mounting attention, and with just four miles left to go, Bandit is about to give up, but Snowman refuses to listen and takes the lead, smashing through the police roadblock at the entrance to the fairgrounds. They arrive back at Lakewood Speedway (while the Southern Classic race is being run) with only 10 minutes to spare, but instead of taking the payoff, Frog and Bandit accept a double-or-nothing offer from Little Enos — a challenge to run up to Boston and bring back clam chowder in 18 hours. They quickly escape in one of Big Enos' Cadillac convertibles, passing Sheriff Justice's badly damaged police car by the side of the road. Bandit first directs Sheriff Justice to Big and Little Enos, but then in a gesture of respect, reveals his true location and invites Justice to give chase, leaving Junior behind.

text: Cast[edit]

text:
Burt Reynolds as Bo Darville ("Bandit")
Sally Field as Carrie ("Frog")
Jerry Reed as Cledus Snow ("Snowman")
Jackie Gleason as Sheriff Buford T. Justice ("Smokey")
Mike Henry as Junior Justice
Pat McCormick as Big Enos Burdette
Paul Williams as Little Enos Burdette
Macon McCalman as Mr. B
Susan McIver as Hot Pants
George Reynolds as Sheriff George Branford
Laura Lizer Sommers as Little Beaver
Michael Mann as Branford's Deputy
Lamar Jackson as Sugar Bear
Ronnie Gay as Georgia Trooper
Quinnon Sheffield as Alabama Trooper
Alfie Wise as Alabama Patrolman
Pat Hustis as Tow Truck Driver
Ingeborg Kjeldsen as Foxy Lady
Ben Jones as Trucker #1
Joe Klecko as Trucker #2
Hank Worden as Trucker #3

tag: ul

text: Production[edit]

text: Director Hal Needham originally planned the film as a low-budget B movie with a production cost of $1 million,[2] with Jerry Reed as the Bandit. It was not until Needham's friend Burt Reynolds read the script, and said he would star, that the film was aimed at a more mainstream release; Reed would now portray Bandit's friend Snowman (Reed would eventually play the Bandit in Smokey and the Bandit Part 3). At that time Reynolds was the top box office star in the world. In the original script Carrie was called Kate while Big Enos and Little Enos were called Kyle and Dickey. Bandit's car was a second generation Ford Mustang and the prize for completing the run was a new truck rather than $80,000.[4]

text: Burt Reynolds revealed in his autobiography that Needham had written the first draft script on legal pads. Upon showing it to his friend, Reynolds told Needham that it was the worst script he had ever read but that he would still make the movie. Most of the dialogue was improvised on set.[5]

text: Universal Studios bankrolled Smokey and the Bandit for $5.3 million, figuring it was a good risk.[2] Just two days before production was to begin, Universal sent a "hatchet man" to Atlanta to inform Needham that the budget was being trimmed by $1 million. With Reynolds' salary at $1 million, Needham was left with only $3.3 million to make the film. Needham and assistant director David Hamburger spent 30 hours revising the shooting schedule.[2]

text: "Buford T. Justice" was the name of a real Florida Highway Patrolman known to Reynolds' father, who was once Police Chief of Riviera Beach, Florida. His father was also the inspiration for the word "sumbitch" used in the film, a variation of the phrase "son-of-a-bitch" that, according to Reynolds, he uttered quite often.

text: Jackie Gleason was given free rein to ad-lib dialogue and make suggestions. It was his idea to have Junior alongside him throughout. In particular, the scene where Sheriff Justice unknowingly encounters the Bandit in the "choke and puke" (a roadside diner) wasn't in the original story, but rather was Gleason's idea.

text: Before Gleason was cast in the film, Richard Boone was originally considered for the role of Buford T. Justice.[5]

text: Sally Field only accepted the part after her agent advised her that she needed a big movie role on her resume. Reynolds actively pushed for her casting after Universal initially resisted, claiming Field was not attractive enough. Field enjoyed making the film, but remembers that virtually the entire project was improvised.

text: Reportedly, Needham had great difficulty getting any studios or producers to take his project seriously, as in the film industry, he was better known as a stuntman. He managed to obtain studio attention after his friend Reynolds agreed to portray the Bandit in the film.

text: The movie was primarily filmed in Georgia in the cities of McDonough, Jonesboro and Lithonia. The scenes set in Texarkana were filmed in Jonesboro and the surrounding area, and many of the chase scenes were filmed in the surrounding areas on Highway 54 between Fayetteville and Jonesboro for a majority of the driving scenes, Mundy's Mill Road, Main Street in Jonesboro, Georgia State Route 400, I-85 (Pleasant Hill exit), and in McDonough. However, the scene where they drive through the Shell gas station was filmed in Ojai, California on the corner of Ojai and El Paseo. Much of the surrounding scene comes from that immediate vicinity. The scene featuring the racetrack was filmed at Lakewood Speedway at the old Lakewood Fairgrounds on the south side of Atlanta. The roller coaster seen in the movie was the Greyhound. It had not been used for some time and was repainted for the film. It was destroyed in Smokey and the Bandit II and a flashback scene in Part 3.[6]

text: The film's theme song, "East Bound and Down", was written virtually overnight by Jerry Reed. He gave Needham a preview of the song, and when initially he got no reaction from the director, offered to rewrite the song. Needham, however, liked the song so much he assured Jerry not to change a word. It became one of Reed's biggest hits and his signature number.[7]

text: The area around Helen, Georgia was also used for some locations. The scene where Buford T. Justice's car has the door knocked off by a passing semi truck was shot on Georgia State Route 75, 3 miles (4.8 km) north of Helen. The tow truck driver was a local garage owner, Berlin Wike.

text: The film features the custom clothing and costuming of Niver Western Wear of Fort Worth, Texas.[8] Niver provided much of the western attire worn in the film, as well as the custom-made sheriff's uniforms (waist size 64 inches) that Jackie Gleason wore throughout the film.

text: Reynolds and Sally Field began dating during the filming of Smokey and the Bandit.

text: While made to take advantage of the ongoing 1970s CB radio fad, the film added to the craze.[9]

text: Though the film Moonrunners (1975) is the precursor to the television series The Dukes of Hazzard (1979-1985), from the same creator and with many identical settings and concepts, the popularity of Smokey and the Bandit and similar films helped get the Dukes series on air. Three actors from the main cast of The Dukes of Hazzard appear in small uncredited roles in Smokey and the Bandit: Ben Jones, John Schneider and Sonny Shroyer (who played a police officer in both). In return, Reynolds portrayed the Dukes character Boss Hogg (originally portrayed by Sorrell Booke) in the film adaptation The Dukes of Hazzard (2005). Reynolds is also referenced by name in several early episodes of the series.

text: Vehicles[edit]

text: Needham saw an advertisement for the soon-to-be-released 1977 Pontiac Trans Am and knew right away that would be the Bandit's car, or, as Needham referred to it, a character in the movie. He contacted Pontiac and an agreement was made that four 1977 Trans Ams and two Pontiac LeMans 4-door sedans would be provided for the movie.[10] The Trans Ams were actually 1976-model cars with 1977 front ends. (From 1970 to 1976, both the Firebird/Trans Am and Chevrolet Camaro had two round headlights, and in 1977, the Firebird/Trans Am was changed to four square headlights, while the Camaro remained unchanged.) The decals were also changed to 1977-style units, as evidenced by the engine size callouts on the hood scoop being in liters rather than cubic inches, as had been the case in 1976. The hood scoop on these cars says "6.6 LITRE", which in 1977 would have denoted an Oldsmobile 403-equipped car or a non W-72, 180 hp version of the 400 Pontiac engine. All four of the cars were badly damaged during production,[11] one of which was all but destroyed during the jump over the dismantled bridge. The Trans Am used for the dismantled bridge jump was equipped with a booster rocket, the same type that was used by Evel Knievel during his failed Snake River Canyon jump. Needham served as the driver for the stunt (standing in for Reynolds) while Lada St. Edmund was in the same car (standing in for Sally Field during the jump). By the movie's ending, the final surviving Trans Am and LeMans were both barely running and the other cars had become parts donors to keep them running. The Burdettes' car is a 1974 Cadillac Eldorado convertible painted in a "Candy Red" color scheme, and is seen briefly at the beginning of the movie and as Bandit, Snowman, Fred, and Frog make their escape in the final scene.

text: The film also made use of three Kenworth W900A short-frame semi trucks, which Jerry Reed can be seen driving, each equipped with 38-inch sleepers. Two units were 1974 models as evidenced by standard silver Kenworth emblems on the truck grille, and one unit was a 1973 model as evidenced by the gold-painted Kenworth emblem on the truck's grille signifying Kenworth's 50 years in business. The paint code for each truck was coffee brown with gold trims, and the 48-foot (15 m) mural trailer used was manufactured by Hobbs Trailers in Texas with a non-operational Thermo King Refrigeration unit. This is obvious, because there is no fuel tank on the underside of the trailer to power the refrigeration unit, and the unit is never heard running.[12]

text: Legal status of Coors beer[edit]

text: In 1977, Coors was unavailable for sale east of Oklahoma. A 1974 Time magazine article explains why Coors was so coveted that one would be willing to pay the Bandit such a high price to transport it. Coors Banquet Beer had a brief renaissance as certain people sought it out for its lack of stabilizers and preservatives. The article says that future Vice President Gerald Ford hid it in his luggage after a trip to Colorado in order to take it back to Washington. President Dwight D. Eisenhower had a steady supply airlifted to Washington by the Air Force. The article also mentions Frederick Amon, who smuggled it from Colorado to North Carolina and sold it for four times the retail price.[13] The lack of additives and preservatives meant that Coors had the potential for spoiling in a week if it were not kept cold throughout its transportation and in storage at its destination. This explains the 28-hour deadline.[14]

text: Soundtrack[edit]

text:
Smokey And The Bandit: Music from the Motion Picture

Soundtrack album by Various artists

Released
1977 (1977)

Genre
Truck-driving country
country rock
country
bluegrass
rock

Length
41:11

Label
MCA Records

Producer
Sonny Burke

Singles from Smokey And The Bandit: Music from the Motion Picture

"East Bound and Down"
Released: August 1, 1977

tag: table

text: The theme music, "East Bound and Down", was sung and co-written by Reed (credited under his birth name, Jerry Hubbard) and Dick Feller. It became Reed's signature song and is found on multiple albums, including Country Legends and his live album Jerry Reed: Live Still. In 1991 it was arranged for orchestra by Crafton Beck and recorded by Erich Kunzel and the Cincinnati Pops Orchestra for their album Down on the Farm. Several other groups, such as US rock band Tonic, have also covered it. Reed also penned and performed the song for the opening credits, entitled "The Legend", which tells of some of The Bandit's escapades prior to the events of the film, and the ballad "The Bandit", which features in several versions in the movie and on the soundtrack. Reed's hit not withstanding, Bill Justis is the first name on the credits for the soundtrack as he composed and arranged original music throughout the film. Musicians such as Beegie Adair and George Tidwell played on the soundtrack as part of long careers in music. Legendary five-string banjo player Bobby Thompson is also heard prominently towards the end of "East Bound and Down." The soundtrack album was released in 1977 on vinyl, cassette and 8-track through MCA Records.[15]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Length

1.
"The Legend"
Jerry R. Hubbard
2:09

2.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)

0:28

3.
"West Bound And Down"
Jerry R. Hubbard, Dick Feller
2:45

4.
"Foxy Lady"
Bill Justis
2:51

5.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["smokey"] – Jackie Gleason, Voice ["snowman"] – Jerry Reed)

0:56

6.
"Orange Blossom Special"
Ervin T. Rouse
2:40

7.
"The Bandit"
Dick Feller
3:00

8.
"March Of The Rednecks"
Bill Justis
2:22

9.
"If You Leave Me Tonight I'll Cry"
Gerald Sanford, Hal Mooney
2:47

10.
"East Bound and Down (Incidental CB Dialogue Included)" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)
Jerry R. Hubbard, Dick Feller
4:42

11.
"The Bandit"
Dick Feller
2:48

12.
"And The Fight Played On!"
Bill Justis
2:22

13.
"Ma Cousin Plays Steel"
Bill Justis
3:11

14.
"Hot Pants Fuzz Parade"
Bill Justis
4:48

15.
"Incidental CB Dialogue" (Voice ["bandit"] – Burt Reynolds, Voice ["snowman"] – Jerry Reed)

1:05

16.
"The Bandit (Reprise)"
Dick Feller
2:17

Total length:
41:11

text: Reception[edit]

text: Smokey and the Bandit was a smash hit at the box office. With an original budget of $5.3 million (cut to $4.3 million two days before initial production),[2] the film grossed $126,737,428 in North America,[16] making it the second-highest-grossing movie of 1977. The worldwide gross is estimated at over $300 million.[2]

text: Film critic Leonard Maltin gave the film a good rating (3 stars out of a possible 4) and characterized it as "About as subtle as The Three Stooges, but a classic compared to the sequels and countless rip-offs which followed."[17]

text: Gene Siskel, in his review in the Chicago Tribune, gave the film two stars and complained that the film failed to tell the audience when the clock started on the beer run, thus removing suspense throughout the film concerning how long remained to them. He also claimed that Bandit is never made aware of Frog's leaving Junior at the altar, which is why the Bandit continually asks why a Texas sheriff is chasing him. However, this is inaccurate: within seconds of Bandit picking her up, Frog tells him "there is a wedding in search of a bride", and goes on to explain her ill-advised romance with Junior, as Bandit holds up the CB mic for Snowman to hear.

text: The film's editors, Walter Hannemann and Angelo Ross, were nominated for the Academy Award for Best Film Editing. It currently holds an 81% "Fresh" rating on review aggregate website Rotten Tomatoes, based on 27 reviews.[18]

text: Burt Reynolds rated the film as the one he most enjoyed and had the most fun making in his career.[19]

text: Legendary film maker Alfred Hitchcock stated that the movie was one of his favorites.[20]

text: Upon meeting Burt Reynolds, Billy Bob Thornton told him that the picture was not considered as such in the south, and was considered more of a documentary.[21]

text: Smokey and the Bandit was released in the United Kingdom on August 28, 1977 and was a sizeable success there, garnering positive reviews.[22]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Laughs – Nominated
AFI's 100 Years...100 Thrills – Nominated
AFI's 100 Years...100 Heroes and Villains:

Bandit (Bo Darville) – Nominated Hero

text: Cultural impact[edit]

text: Trans Am[edit]

text: After the debut of the film the Trans Am became wildly popular with sales almost doubling in two years of the film's release, to the delight of General Motors; in fact, it outsold its Camaro counterpart for the first time ever.[23] Reynolds was given the 1977 vehicle used during promotion of the film as a gift, though the car itself never actually appeared in the film. Because of the popularity of the movie and the sales success of the Trans Am, then President of Pontiac Alex Mair promised to supply Reynolds with a Trans Am each year. Owing to his financial difficulties, in 2014 Reynolds put his vast collection of artwork and memorabilia up for auction, including the Trans Am. High estimates for the car were up to $80,000, but that was dwarfed by the actual sale price of $450,000. Also up for auction was a go-kart replica of the car, which sold for nearly $14,000.[24] In 2016, Trans Am Depot, a Florida-based automobile customization company, announced that it would build 77 Trans Ams that would be modeled after the car that Reynolds drove in the 1977 original, despite Pontiac having been discontinued by GM in 2009. These new models were built off the Camaro platform (the very same one that the real Firebird and Trans Am used), came with Pontiac arrowhead, flaming bird and Bandit logos, as well as instrument panels, center consoles and hood scoops emulating their 1977 counterparts, and were signed by Reynolds. Some differences included the use of a supercharged 454-cid (7.4-liter) Chevrolet-sourced engine that put out 840 HP, and four round headlights, which appeared on the 1967-69 Firebirds/Trans Ams only; the actual 1977-81 models had square headlights.[25]

text: Diablo sandwich[edit]

text: The diablo sandwich ordered by Sheriff Justice in the Arkansas barbecue restaurant scene has entered popular culture as a minor reference to the film. While no authoritative source identifies the composition of the sandwich, there are several possibilities. A segment of the CMT program Reel Eats used a sloppy joe-style recipe consisting of seasoned ground beef, corn and sour cream.[26] Another proposal, based more closely on images from the film and the shooting location of the scene (at an Old Hickory House restaurant in Georgia), is pulled pork and hot sauce on a hamburger bun.[27]

text: The Bandit Run[edit]

text: First run in 2007 to celebrate the 30th anniversary of the movie, The Bandit Run was the brainchild of Dave Hall, owner of Restore A Muscle Car. A group of Trans Am owners and fans of the movie take part in an annual road trip from Texarkana to Jonesboro, Georgia, recreating the route taken by the characters in the film.

text: The Bandit Run quickly caught on and has become a fixture, most recently celebrating the 40th anniversary of the movie with a special screening of the film attended by Burt Reynolds and a recreation of the jump undertaken by Bandit and Frog across a river.[28]

text: Mobil 1 commercial[edit]

text: In 2014, petroleum company Mobil 1 produced television commercials, featuring NASCAR star Tony Stewart, closely based on the film. Called Smoke is the Bandit playing on Stewart's nickname, the commercials featured him as the Bandit opposite Darrell Waltrip who played Snowman and Jeff Hammond as Buford T. Justice. The story replaced the Coors beer with Mobil 1 products. The adverts poked fun at the film and even featured a Pontiac Trans Am and a cover version of the song East Bound and Down. The commercials were produced after Stewart mentioned that the movie was one of his favorites.[29]

text: Television censorship and alternative versions[edit]

text: When Smokey and the Bandit first aired on American network television in the early 1980s, censors were faced with the challenge of toning down the raw language of the original film. For this purpose, they overdubbed dialogue deemed offensive, which was (and remains, to an extent) common practice. The most noted change made for network broadcast was the replacing of Buford's often-spoken phrase "sumbitch" (a contraction of "son of a bitch"; usually in reference to the Bandit) with the phrase "scum bum". This phrase achieved a level of popularity with children, and the 2007 Hot Wheels release of the 1970s Firebird Trans Am has "scum bum" emblazoned on its tail. The TV prints of the first two Bandit films are still shown regularly on television, although a few TV stations aired the unedited version in recent years as some of the phraseology (i.e. "(son of a) bitch", "ass", etc.) became more acceptable on TV.

text: The original actors mostly redubbed their own lines for the television version, except for Gleason. Actor Henry Corden, who voiced Fred Flintstone after original performer Alan Reed died, was used to replace a considerable amount of Sheriff Justice's dialogue. This is fitting, as Fred Flintstone was a parody of/homage to Gleason's character Ralph Kramden and The Flintstones was a parody of/homage to The Honeymooners.

text: In the UK, the heavily dubbed version was shown for a number of years, particularly by the BBC. However, in more recent years, the original version has been shown (on ITV, a commercial channel), usually with the stronger language edited out, often quite awkwardly and noticeably.

text: The theatrical release itself had a few lines deleted, including a creative edit in which Sheriff Justice tells a state trooper to "fuck off." His expletive is obscured when a passing big rig sounds its horn. At the time, using the 'F' word would immediately require an R rating which the producers were looking to avoid. This clever self-censorship allowed the film to avoid this rating and reach a much larger audience.

text: In 2006, a DVD re-release was issued of Smokey and the Bandit featuring a digitally-remastered audio track with 5.1 Dolby-compatible surround sound. It should be noted however that many of the film's original sounds were replaced. For instance, the diesel engine start and run up sequence in the opening sequence of the film was completely dubbed over with a totally new sound. A few other examples of "sound effect replacement" occur when Bandit takes off after managing to get a reluctant Cledus involved in the bet, and after he comes to a screeching halt on a roadway moments before picking up Carrie. Some of the original sound effects (such as Cledus' dog Fred's barking) and music (such as the final chase to the Southern Classic) were removed and not replaced. (Note: earlier DVD releases and the 40th Anniversary Blu-ray of the film have the original soundtrack intact.)[30]

text: Major portions of the audio 'background' have been modified with different engine sounds or tire squeals from the original film. The updated version of the film features sounds inaccurate for what would be produced by the Trans Am or the numerous other Pontiac vehicles in the film. The original film had correct sounds that were usually recorded live as the action took place.

text: Some TV versions also feature a longer version of the scene where Cledus wades into the pond after Fred.[31]

text: Spinoff[edit]

text: This section needs expansion. You can help by adding to it. (April 2013)

text: A series of television movies aired in 1994. The car featured was a Dodge Stealth.

text: Reboot[edit]

text: In late 2017, Universal Pictures acquired Edgar Wright to direct a reimagining/reboot of the first film, due to the summer of 2019 release.[citation needed]